Each year we recognize several authors for their contributions to the ongoing conversation about race and diversity in the world. In September, each of our winners makes the trek to Cleveland for the awards ceremony, for our audience to meet these esteemed authors in person and to hear them read their works. It’s a hot ticket in town but does the public know much about the ceremony itself? We talked to Mary Louise Hahn, consultant to Cleveland Foundation for the Anisfield-Wolf Book Awards and she gave us (and you!) insight into the process:
1. How long does it take for us to prep for the awards ceremony every year?
It takes us about three months to work out all the logistics, with several colleagues, PlayhouseSquare, ideastream and Colortone professionals involved.
2. How many AW winners are there?
211 including Lifetime Achievement winners (a tradition started by jury chair Henry Louis Gates, Jr., which goes back to 1996.) ·
3. Which author has flown the farthest distance to make it for the awards ceremony?
Probably Nam Le, flying from Australia via London and New York to Cleveland.
4. How many books does the jury read before making their selections on who is the winner?
Because our jury is so extraordinarily well read, quite a few of the 200+ publically nominated books are ones with which they are already familiar. By the end of the selection process, they will have all zeroed in on approximately 15-20 books and critiqued them together. ·
5. What is the largest attendance we’ve had the awards ceremony?
We had 950 people at Severance Hall for the 75th anniversary. Last year, our first at the Ohio Theatre in Playhouse Square, we had an attendance of 850. Previous to Severance, our largest attendance was 640—the maximum capacity of the Bolton Theatre at the Cleveland Playhouse. Our last three years in the Bolton, our ceremonies had only a few empty seats, despite the fact, that the tickets were free.
To say there has been immense interest in Isabel Wilkerson’s “Warmth of Other Suns” would be an understatement. She recently gave the ending keynote at the Mayborn Literary Nonfiction Conference last month, where she noted that she has been on the road promoting the book extensively since it was first released in September 2010. During the wrap-up interview, Wilkerson was asked if we might see her book on the big screen, similar to “The Help.” Check out the video above for the answer as well as more on Wilkerson’s process, her writing career and more.
We live in a world that is dominated by the impact of race, class and diversity, but conversations about those ideas don’t happen nearly as often as they need to. That’s why our mission here at Anisfield-Wolf feels so fulfilling, because the books we select provide those sparks that can ignite meaningful conversations bubbling just below the surface.
Take 2009 winner Annette Gordon-Reed for instance. Her books on Thomas Jefferson and his relationship with Sally Hemmings helped Americans analyze the complexities of race and freedoms during our nation’s infancy. Gordon-Reed recently sat down for an interview with BigThink.com about the impact of race in her life and in our society. Her answers on going to a predominately white school in the still segregated South might surprise you.
The events of the past few months have really been hard on the nation’s psyche. An uptick in mass murders and violence seems to have everyone on edge and debating what everything really means.
But our Anisfield-Wolf jury member Steven Pinkerwould argue that while current events are troubling and no less disturbing, we should know that life even a few hundred years ago would have been a lot different. In his latest book, The Better Angels Of Our Nature, Pinker discusses the peace that is seemingly invisible all around us.
In a recent interview with George Stroumboulopoulos, Pinker explains that perception isn’t always reality. “You turn on the news and it seems like there’s nothing but bombings and shootings and stabbings,” he says. “We’re better and better at covering violence…If your impression of how dangerous the world is comes from how many events you can remember, you’re going to think it’s getting worse and worse.” Check out the video above and let us know if you agree with Pinker’s thesis.
Some of the world’s greatest historians—David W. Blight, Henry Louis Gates, Taylor Branch, etc.—are also Anisfield-Wolf award winners. They know their subjects backward and forward, being able to recall dates, times, places with astonishing accuracy, clarity and insight. They make it possible for us to get to know some of history’s most important leaders in a way that is completely accessible.
That is what David W. Blight aims to do with his upcoming book, his third focusing on the life of Frederick Douglass, who he claims is the “most important and famous African American leader in the nineteenth century.” Check out the above video to learn more about the man who escaped slavery to become President Abraham.
We are roughly a month away from the 2012 Anisfield-Wolf ceremony and is customary, we are alerting fans to several opportunities to meet our 2012 winners.
Cuyahoga County Public Library, Beachwood Branch (In the Meeting Room) 25501 Shaker Boulevard Beachwood, Ohio 44122-2398 Corner of Richmond & Shaker Boulevard Wednesday, September 12, 2012 7:00 PM – 8:30 PM Registration is recommended. Click here to register.
Baker-Nord Center for the Humanities (Clark Hall Room 309) Wednesday, September 12, 2012 4:30 PM – 5:30 PM This event is free and open to the public. Registration is recommended. Click here to register.
When it comes to the writer’s life, sometimes you have to wonder how much the audience’s expectations play in to the production of a book. Do writers worry that their stories won’t connect, that this book won’t be as successful as previous works, or do they approach each book from a space of clarity, with their only concerns on whether or not they’ll be able to finish it?
In the video above, 1999 winner Russell Bankstalks with PBS’ Evan Smith about why he writes and whether he writes for arts’ sake or for commerce. In his latest book, Lost Memory of Skin, Banks makes his main protagonist a paroled sex offender, someone who, Banks admits might not be the most sympathetic or intriguing of characters.
During a stop to the Tavis Smiley show on PBS, Isabel Wilkerson described her desire to capture stories of the Great Migration. It was a labor of love—more than a decade of researching, interviewing, writing, and rewriting to accurately capture the stories of African Americans who left the south for more opportunities and a better life in the North.
As Tavis Smiley says, “Everybody’s talking about this now. But only because you had the discipline and courage and conviction and commitment to tell this story – a story that is at the very epicenter of what America is.”
Have you read the book? What were your thoughts?
We love it. We absolutely love it. When we read Colson Whitehead’s “How To Write,” we doubled over in laughter. Finally, a writer who gets it and has fun with the process.
Writing is a mysterious endeavor. Those who don’t write don’t quite get what we do or how we do it or why we do it. But it’s an exercise in exploration. Every word, every paragraph, every page, every book — it’s all exploration. Whitehead doesn’t take himself too seriously. He knows the writer’s life well.
For example, in rule #2 (“Let Your Subject Find You”), his description of a compelling subject will sound…familiar. And funny:
Once your subject finds you, it’s like falling in love. It will be your constant companion. Shadowing you, peeping in your windows, calling you at all hours to leave messages like, “Only you understand me.” Your ideal subject should be like a stalker with limitless resources, living off the inheritance he received after the suspiciously sudden death of his father. He’s in your apartment pawing your stuff when you’re not around, using your toothbrush and cutting out all the really good synonyms from the thesaurus. Don’t be afraid: you have a best seller on your hands.
We thoroughly enjoy when younger audiences immerse themselves in the work of poets who have come before them. A young poet recited Toi Derricotte’s “For Black Women Who Are Afraid,” and praises her work as a co-founder of Cave Canem, the literary home for black poetry.
For Black Women Who Are Afraid
A black woman comes up to me at break in the writing workshop and reads me her poem, but she says she can’t read it out loud because there’s a woman in a car on her way to work and her hair is blowing in the breeze and, since her hair is blowing, the woman must be white, and she shouldn’t write about a white woman whose hair is blowing, because maybe the black poets will think she wants to be that woman and be mad at her and say she hates herself, and maybe they won’t let her explain that she grew up in a white neighborhood and it’s not her fault, it’s just what she sees. But she has to be so careful. I tell her to write the poem about being afraid to write, and we stand for a long time like that, respecting each other’s silence.
Written by Toi Derricotte
Anytime – and we do mean anytime – there is a new Toni Morrison interview or book or appearance, we pay attention. Not just because she is a 1988 Anisfield-Wolf winner, but because she is a literary treasure. She is 81 now, having spent roughly half her life as an author of note and with is comes the freedom and space to say exactly how she feels about any given topic.
She recently sat with a writer from the Daily Telegraph for an in-depth interview in advance of her latest work, a play, which opened in London this month. In it, she collaborates with director Peter Sellars and Rokia Traore to retell the story of “Othello,” one of Shakespeare’s most-known works, this time giving more depth to Desdemona, Othello’s lover and wife.
In the incredibly rich interview, Morrison talks candidly about a variety of subjects. We pulled some of the best quotes:
On her son’s death:
“People speak to me about my son – ‘I’m so sorry for you’ – but no one says, ‘I loved him so much.’ I was busy in grief, which I don’t expect to stop. Suddenly realising that the last thing my son would want was for me to be very self-involved and narcissistic and self-stroking. It stopped me from writing. Which doesn’t mean you stop feeling the absence. It was being willing to think about it in a way that was not self-serving.”
On why she wanted to take on Shakespeare:
“Black classically trained actors love the role because it’s one of the few times that they are the stars. So the same old version gets repeated. And I didn’t find justification for that conventional view in Othello. I was interested in a different rendering of her.”
On where she considers home:
“I live in places that I love. And I’d hate to lose them. The house on the river I’ve been in since the Seventies. But home is an idea rather than a place. It’s where you feel safe. Where you’re among people who are kind to you – they’re not after you; they don’t have to like you – but they’ll not hurt you. And if you’re in trouble they’ll help you…”
The whole interview is worth a read – we think you’ll find it one of the highlights of your day.
The press keeps coming for Zadie Smith, as her latest book, NW, will be hitting bookshelves in September. An excerpt from her latest book appeared in The New Yorker recently and Smith gave an open and honest interview about her writing process and her desire to have characters that are diverse. But there was one quote in particular that made us pause:
Every time I write a sentence I’m thinking not only of the people I ended up in college with but my siblings, my family, my school friends, the people from my neighborhood. I’ve come to realize that this is an advantage, really: it keeps you on your toes.
And it seems clear to me that these little varietals of voice and lifestyle (bad word, but I can’t think of another) are fundamentally significant. They’re not just decoration on top of a life; they’re the filter through which we come to understand the world.
Is it clear now why we awarded Ms. Smith the 2006 award for fiction? This quote clearly touches upon all the elements of the Anisfield-Wolf Awards. We appreciate the differences in cultures because they are truly what makes the world such a rich place to be.
What annoys you most about book critics? If you could have a drink with any author, who would it be? Name a passage in one of your favorite books that you would rewrite if given the chance. These questions and more were lobbied to 2009 Anisfield-Wolf winner Nam Le as part of Tehelka’s “A Byte Of…” video interview series. Check out Nam Le’s responses above in the quick video.
2005 Anisfield-Wolf winner Edwidge Danticat visited the Tavis Smiley show on PBS to discuss her latest work, Create Dangerously. She discusses the origins of the book’s title, the difference between immigrant artists and American-born artists, and whether art should be considered a luxury or necessity.
For someone as storied as Arnold Rampersad, sometimes the best words of praise come not from awards jurors or book critics, but from colleagues who have worked side by side with you for years. Shelly Fisher Fiskin, who co-edited Oxford University Press’ Race and American Culture series with Rampersad, wrote that there are few people more deserving of an award than her longtime colleague:
Fiskin writes:
An extraordinarily elegant writer, a meticulous researcher, and a scholar gifted with the ability to focus on what matters most about any subject that he tackles, Arnold Rampersad richly deserves this honor.
His biographies and his literary scholarship have had an enormous impact on our understanding of American culture, illuminating issues of race and racism in America in groundbreaking, crucial ways. He has been a role model for generations of scholars in American Studies, English, and African American Studies. I congratulate the Anisfield-Wolf jury for recognizing his important contributions to the cultural conversation with this award.
We couldn’t have said it better ourselves. Congratulations again to an amazing writer.
…If you know where to look.
We enjoy getting writing advice from our winners because they’re so impossibly good at telling stories. Whether the story is about a 13-year-old girl winning a spelling bee or a look at three Southerners who tried to reinvent themselves in the unfamiliar North, telling a compelling story is the focus.
2004 nonfiction winner Adrian Nicole LeBlanc knows her way around a good story. She was honored for her 2003 work “Random Family,” a look at the decade-long immersion she spent tracing the lives of one Bronx family. Adapted from a presentation she gave at the Conference on Narrative Journalism, here’s her technique for finding stories worth writing:
I like to insert myself in situations – identified as a journalist but not necessarily working on a story – to educate myself. After my book “Random Family” came out, I spoke at conferences for social workers and youth workers. At these conferences, I signed up for every mailing list, so I’d receive notices for their workshops. One was called “How to Handle Traumatized Children.” I attended, not knowing whether it would become a story, but I was sure that by the end of five days there I would have 10 story ideas. An idea might be a simple profile of an interesting social worker. Or it could be an analysis of how the skill sets that social workers are encouraged to adopt both liberate and confine them.
I keep story files. I clip and file whatever strikes me: new slang words, fashions, particular towns and neighborhoods, someone’s turn of phrase. My idea files are full of things that interest me, in ways that often aren’t clear to me. Some story ideas hit me immediately when I meet a person who engages my interest. Other ideas take years to develop in my mind, and even longer to sell to an editor. My story files provide the ammunition to convince an editor, to explain why a story is worthwhile. They allow me to draw from a whole pack of information, not just one or two anecdotes.
Major stories come to me through my straying curiosity. Even as I lose myself in that story, I’m keeping track of new people and ideas that surface during the fieldwork – half hunches and ideas that I hope to explore, eventually.
We’re sticklers for learning how to pronounce all of our winners’ names. We don’t pat ourselves on the back for this; after all, it is their given name and making the effort to greet someone as they are customarily called is simply good manners. We can admit that some names are harder than others, based on the complexity of the ratio of vowels to consonants, but at rate, there might be some names that look disturbingly easy, but in fact will trip you up. Check out some of the names you think you’ve nailed, but really could use a lesson or two:
Arnold Rampersad, our 2012 Anisfield-Wolf winner, has a special tie to the Cleveland area, where our awards are hosted every year. As one of the nation’s definitive biographers, he has covered noted Cleveland resident Langston Hughes in detail, publishing two volumes of The Life of Langston Hughes, served as editor of Collected Poems of Langston Hughes and Poetry for Young People: Langston Hughes. We are looking forward to his remarks at the 2012 ceremony in September!
Here’s a few tidbits about our 2012 lifetime achievement winner that you can chew on:
Rampersad is a 2010 National Humanities Medal winner, along with Anisfield-Wolf jury member Joyce Carol Oates. The committee honored him for his skills as a gifted biographer and literary critic.
Rampersad also joins the long list of Anisfield-Wolf winners who have also won a MacArthur “Genius” grant.
He won the 1987 Anisfield-Wolf award for nonfiction, for his work, The Life of Langston Hughes.
He’s been featured at Authors@Google, the web giant’s program that allows for some of the world’s most innovative authors to share their work with a greater audience, video above. We welcome him to the Anisfield-Wolf family and look forward to the ceremony in September!
Huffington Post’s Black Voices rounded up 50 books the editors think every African American should read (they added on Twitter that of course the list has value to everyone, but these books focus primarily on the black experience in America). We were thrilled to see how many Anisfield-Wolf winners were on the list, proving to us once again that our winners stand out in the crowded literary field.
Gwendolyn Brooks
“Annie Allen” (1949)
Edwidge Danticat
“Breath, Eyes, Memory” (1999)
Chimamanda Adichie
“Half Of A Yellow Sun” (2008)
Ralph Ellison
“Invisible Man” (1952)
Edward P. Jones
“The Known World” (2003)
Alex Haley
“The Autobiography of Malcolm X” (1987)
Toni Morrison
“Song of Solomon” (1977), “Sula” (1973) and “The Bluest Eye” (1970)
Langston Hughes
“The Weary Blues” (1925)
Zora Neale Hurston
“Their Eyes Were Watching God” (1937)
Zadie Smith
“White Teeth” (2000)
Isabel Wilkerson
“The Warmth of Other Suns” (2010)
Walter Mosley
“Devil in a Blue Dress” (1990)
Ernest J. Gaines
“A Lesson Before Dying” (1993)
Anne-Marie Slaughter’s “Why Women Can’t Have It All” article has re-ignited the conversation about working mothers and their quest to obtain balance in all areas of their lives. Some argue that Slaughter’s perspective (as a former State Department employee turned tenured Princeton professor) reeks of privilege, while others simply admit that she makes valid points about the difficulty of proving yourself both on the job and in your home.
The Wall Street Journal caught up with 2006 Anisfield-Wolf winner Zadie Smith at the Book Expo and talked to her a bit about how she sees her career these days, as she has a two-and-a-half year old daughter and an upcoming book to promote. How does she balance the two?
Smith said:
It’s not always easy but I think one way you can make it easier is just doing the essential things and nothing else. I’m not in a great passion to run around the country for three weeks, you know? I’d rather be at home.
But actually writing fits fairly well with motherhood. I’m in the house all the time, which helps. You can set your hours. I suppose the hard thing for a child is the sense that your mother is often thinking about something else. In the downtime between novels you have to demonstrate that you’re also thinking of your family. I’m trying to do it now.
